Below is a list of composers currently represented on this Web site. Clicking on a composer's name will bring up a list of madrigals available to be downloaded. Three downloads are available for each madrigal: Score (in PDF format), MIDI (.mid) and Text/Translation (also in PDF).

All downloads are free of charge; however, you must register with the site in order to download Scores and Texts/Translations.

Note that, in the case of madrigals in multiple sections, the full Text/Translation may be downloaded from the entry for the first section (the prima parte).

NOTE ABOUT MIDI FILES: Mac users are advised that Apple's QuickTime application no longer supports MIDI. However, MIDI files can be played on GarageBand for Mac, as well as on some third-party freeware programs. Alternatively, users can request MP3 files of particular pieces by contacting Martin Morell.

Aleotti, Vittoria
Arcadelt, Jacques (Giaches)
Artusini, Antonio
Bati, Luca, Primo a 5 (1594) (complete)
Bellasio, Paolo
Bertani, Lelio
Boschetti, Giovanni Boschetto
Caletti, Giovanni Battista
Califano, Giovanni Battista
Capilupi, Gemignano
Casentini, Marsilio
Cavaccio, Giovanni
Cifra, Antonio
Costa, Gasparo
Croce, Giovanni
D'India, Sigismondo
Dalla Casa, Girolamo
Del Mel, Rinaldo
Dentice, Fabrizio
Falcone, Achille
Felis, Stefano
Florio, Giorgio
Freddi, Amadio
Gabrieli, Giovanni
Gagliano, Marco da
Gastoldi, Concenti musicali a8 (1604/1610) (complete)
Gastoldi, Giovanni Giacomo
Gastoldi, Primo a 6 (1592) (complete)
Gastoldi, Quarto a 5 (1602) (complete)
Ghizzolo, Giovanni
Giovanelli, Ruggiero
Guami, Francesco
Guerini, Pietro Francesco
Ingegneri, MarcAntonio
Isnardi, Paolo
Leoni, Leone
Mancini, Curzio
Marenzio, Luca
Masnelli, Paolo
Massaino, Primo a 6 (1604) (complete)
Massaino, Quarto a 5 (1594) (complete)
Massaino, Terzo a 5 (1587) (complete)
Mezzogorri, Giovanni Nicolò
Monteverdi, Claudio
Mosto, Giovanni Battista
Nasco, Giovan (Jan)
Nodari, Giovanni Paolo, Madrigali a 5 (complete)
Pallavicino, Benedetto
Rognoni Taeggio, Francesco, Primo a 5 (1613) (complete)
Rognoni Taeggio, Giovanni Domenico, Primo a 5 (1605) (complete)
Rore, Cipriano (De)
Rossetti, Stefano
Rossi, Salamone
Ruffolo, Lucrezio
Sabino, Ippolito
Santini, Marsilio
Stabile, Annibale
Taroni, Antonio
Tomasi, Biagio
Tresti, Flaminio
Tresti, Secondo a 5 (1587) (complete)
Usper (Spongia), Francesco
Valmarana, Girolamo
Various (from Dolci Affetti, 1582)
Various (from Trionfo di Musica, 1579)
Vecchi, Orazio
Venturi del Nibbio, Primo a 5 (1592) (complete)
Venturi del Nibbio, Primo pastorali a 5 (1592) (complete)
Verdonck, Cornelius
Virchi, Paolo, Primo a 5 (1584) (complete)
Virchi, Paolo, Secondo a 5 (1588) (complete)
Wert, Decimo a 5 (1591) (complete)
Wert, Giaches de
Wert, Ottavo a 5 (1586) (complete)
Zanchi, Liberale
Zanotti, Camillo
Zoilo, Annibale

Santini, Marsilio

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Title and DescriptionScoreMidiTranslation
Al vostro dipartire (SSATB)
Little is known about Marsilio Santini, other than that he was from Monselice near Padua, took holy orders, and died young. A grieving colleague, who evidently had a high opinion of Santini's musical talents, arranged for his five-voice madrigals to be published posthumously in 1602. Sadly, only three of the five partbooks (the Alto, Tenore and Quinto) of this print are known to survive. However, a handful of the pieces therein were subsequently reproduced in various anthologies and manuscripts; virtually all of Santini’s five-voice madrigals that survive complete are presented here. Overall, they display remarkable sophistication, indeed prefiguring musical developments of a decade or even a generation later. “Al vostro dipartire” is a setting of a fairly conventional text about the pain of a lover’s separation (and its alleviation).
Ceda ogni maggior lume (SSAAT)
The text is clearly an encomium for a personage named Chiara, and the mention of the river Adige indicates an association with Verona. A likely candidate, therefore, is Chiara Delfina Cornaro, wife of the Venetian patrician Giovanni Cornaro, Capitano (military commander) of Verona during the 1590s. Unusually for the wife of a high-ranking official posted to a city of the Venetian terraferma, Chiara accompanied her husband for part of his tenure (1594-1595), and evidently became prominent in Verona’s social life. If the attribution is correct, then it would appear likely that Santini similarly had an association with Verona, and perhaps with the Accademia Filarmonica, its prestigious musical institution.
Anima del cor mio (SSATB)
A lover’s complaint about being displaced by a rival, punctuated with rapid declamatory passages.
Cantava in riva al fiume (SSATB)
A sprightly piece in praise of a woman named Eleonora; according to the corresponding entry for Santini in the Tasso in Music Project (, the poem was first published in 1583 with an attribution to Tasso, and was set to music by the Ferrarese Lodovico Agostini in the same year. The date and the association with Ferrara suggest that the personage in question may be the Ferrarese noblewoman Eleonora d’Este (1561-1637); in 1594 she became the second wife of the composer Carlo Gesualdo (who had murdered his first wife and her lover). Perhaps the piece was composed in honor of the bride.
Questa che dolce canta (SSATB)
Another piece about the effect that a virtuosa singer/musician has upon her listeners (compare Gastoldi’s “Dolce d’amor sirena,” Massaino’s “Mentre vaga Angioletta,” Monteverdi’s “Non sono in queste rive” and Wert’s “Scherza nel canto”). Santini highlights the phrase “sono d’inganni piene” (are full of deceit) with some funky syncopations. The ending offers a remarkable combination of “patter” declamation and early-baroque-like progressions.

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